Authors: Paul Kilpatrick & Robert Acosta Graphic Designer: Paul Kilpatrick Cover Design: Brian Denham and Kelsey Shannon Layout: Paul Kilpatrick Senior Editor: Jochen Weltjens Producation Manager: Lee Duhig Art Direction: GURU-eFX VP of Production: Rod Espinosa Publisher: Joe Dunn Come visit us online at www.apmanga.com You Can Draw Monsters an Antarctic Press Production Antarctic Press 7272 Wurzbach Suite 204, San Antonio, TX 78240 You Can Draw Monsters, June 2008. All material is ™ and © Antarctic Press. No similarity to any actual character(s) and/or place(s) is intended, and any such similarity is purely coincidental. Nothing from this book may be reproduced without the express written consent of the authors, except for the purposes of review and promotion. ISBN: 978-1-9323453-34-8 Printed in the U.S.A.Table of Contents Introduction wick... 4 Clete Monsters .... 5 RObOGIE Monsters .... 2G ALM Monsters .... 46 GIANT eos ww GE CUIMWAN Monsters .... 92 GLARE Monsters ... Ne CA Monsters .... 124 Monstrous Locations .... 19gINTRODUCTION So, you wanna learn to draw monsters, huh? Well, you've come to the right place! In this book, we've brought together some of the most talented guys. around to show you some of the best ways to bring your beastly creations to life. The best part about drawing monsters is there are no limits to what you can do. In the following pages, you're shown that "you can" draw everyone's favorite classic mon- sters as well as monsters from the present and possible futures. You're also given tips // and tricks on how to design your own monsters. This isn't your typical “how to draw” book. This is "you can draw" MONSTERS! So throw the rules out the window, roll up your sleeves and bring those monsters to life as you join Antarctic Press for "You Can Draw Monsters!" ziN CHAPTER. 1The Wolfman, Dracula, the Creature, the Mummy, and Frankenstein's Monster were some of the first monsters to be immortalized on film, and as such, have become iconic figures in popular culture. Their presence in early black and white films has influenced the creation of almost all visual representations of monsters. Since they are so prevalent, it is a good idea to at least have a rudimentary understanding of them. The Wolfman Step 1. Begin by laying out your basic shapes. Remember that these creatures need not follow the same rules as human figures. In fact, the less they look like humans, the better.DRAW Oe tate 18) The Wolfman Step 2. Fill out the figure with muscles and the standard features of a wolfman: fangs, tail, claws, big ears, etc. The next step is fur. You can't have a wolfman without fur. No, really, they look horrible without it Ht you try to draw individual pieces of hair all over the figure, you will wear your hand out, and in the end your ‘werewolf will look cluttered. So choose a few places and create furry edges. Here we have done it around the head, the tail, and at the elbows. This is enough of a visual clue to let everyone know that he is covered in hair. ‘ Z g ? yj S By = ( ) ar 5 YD y Wy t t ad) | { yee / ZNow, a naked werewolf might be your thing, but | prefer at least pants on those work with. On this Wolfman we have added ripped pants and chains, The nice thing about adding accessories is that they establish a story. Instead of a ‘werewolf who has been running feral though the woods, we now know instantly that this werewolf was wearing clothes when he transformed. We also know that he was restrained or imprisoned, whether by his own design or against his, will All that from pants and chainsAlully inked and angry werewolf, truly a terrifying sight to behold. There are many different and conflicing myths about the classic monsters. Some believe that werewolves are humans infected with a disease that turns them into wolves, others say that they are born werewolves. Some legends say that they transform only on the night of the full moon, while others say that they can transform at will. One version of the lote is that they can be harmed only by silver, another is that fire and the attacks of another werewolf will hurt them. The list goes. (on. One thing is certain: The thought of meeting a man-beast on a dark night is not one that comforts anybody.CIN Clasico MONStENs Count Dracula Step 1. Count Dracula is the most famous vampire, the most imitated, and the one who makes the most appearances. Itis believed he was based on Vlad Tepes, a miltary leader who was known for impaling people on stakes while they stlllived, earning him the nickname "Viad the Impaler" and a place in history { W / ‘The great thing about vampires is that their primary \ - shape is that of a human, so you can begin by drawing \ a regular human form, Ne 10Mansters i a Fill out the rest of his body and begin to sketch his features. Here we have chosen to depict him in his form as a young man, ge but there are hints to his bestial nature: His ears are slightly pointed, his eyes look recessed, and his canines are \ exaggerated \Dracula would not be complete without a cape, its the truth! We are also starting to see some modem design elements (on this drawing of Dracula. His boots look positively wicked and his coat incorporates both classical and modern elements.Fully inked, the Granddaddy of the Night is a fantastic-looking frightener. A character attribute that should be carried over into all your depictions of Dracula is that he is a crea: ture of contrast. While he is driven by the darkest, most feral hunger, he values civility very highly. The mistake is often made that he is a completely dark character, and to visually represent this he is drawn with too much black. Instead, use both black and white equally to highlight him and reflect the type of creature he is because, sadly, he has 19 reflection of his own, 19CX DRAW The Creature Step 1. )“FF3 ust as the night has frightened people for generations, so also has the world beneath the surace of the water. The fact that we cannot see something leads our fertie imaginations to create the worst possible scenarios. Creatures beneath the water can ste al anytime and disappear into an environment that we cannot enter, When tis fear was transated onto fm, the Creature was the result, and its image has endured 14Cixpra W VAT eat 14 18] The Creature Step 2. When filing out the Creature, keep in mind that as a (/ swimmer, he is very muscular and lean, perfect for moving quickly through the water. Also, it his fingers or to9s are spread, they will probably be webbed. 16CXDRAW The Creature Step 3. When adding details to this monster, reference fish and amphibians and try to incorporate some of their S characteristics. This version has guiding fins and webbed underarms to help him swim, You will also notice Re that he has gills on both his shoulders and legs. There are really no limits to what you can do with a sea creature. 16J Teciea utc tla sisinage te scies te \ NE gills, and the slitted pupils. It is especially > ee err en S monsters that are not clothed, or else there is a risk that they will be visually less interesting than those that have accessories. When incorporating a monster like the Creature into a story, keep in mind that itis the mystery of what the Creature is that makes itso frightening, Try to limit how much you reveal it, and if possible, don't show the whole monster ‘tl the story has progressed significantly, 7Ca DRAW The Mummy Step 1. We do not completely understand the Ancient Egyptians-the way they mummified their dead, how they built the pyramids, or what they even looked like. In many ways, this is very frightening; to know that a society so far in the past was capable of feats that we are at a loss to understand makes modern man feel a bit insecure. Thus, itis only natural that from that ancient civilization a threat should rise. The Mummy is a preserved human that returns from years of dormancy to terrorize the living, usually as the result of a curse invoked or taboo broken by the ignorant. As itis a preserved human, its shape should be vaguely human. However, it has spent hundreds of years \ - in a sarcophagus and may have undergone some changes in that time. 16CR DRAW The Mummy Step 2. ‘This Mummy seems to have undergone some alterations as he was being preserved, or maybe the process used to preserve him warped his spine in some way. Either way, his arms are elongated and his slumped posture seems to imply that he is being held together only by his wrappings. / tis your choice as an artist how much of the figure beneath the wrap- pings you will show. You may want to try and disgust the person who is viewing your monster with the Mummy's decay under its wrappings or go the ‘opposite route and choose to leave it covered, allow- ing the viewers to decide for themselves what is actually under there, 19Ca DRAW Gr ak The Mummy Step 3. When you start adding detail to your Mummy, your first concern will be how to make it look Old. Adding ragged edges to your wrappings is very easy: Just draw an extra piece with irregular edges. A few trailing pieces of bandage will complete the effect.CR DRAW a a The Mummy Step 4. ‘The fully drawn Mummy stumbles forth from its rest. Its limbs have shrunken with time to spindles. Its body is held together by ragged bandages, and its one exposed eye searches for those who would dare disturb its rest. Each dragging step brings it closer to its prey, ‘The way that the ragged ban- ages fall around its gaping mouth, giving the illusion of sharp teeth, is a particularly nice fect.ONIN Classic. MONsters Frankenstein’s Monster Step 1. Frankenstein's Monster is one of the earliest embodiments of man's fear of technology. Science is a force for change that is very scary when you think about the power it has to alter our lives. That | fear was solidified in Dr. Frankenstein's Monster, are-animated amalgam of dead men's } body parts, J brute, the logic sometimes being that larger body parts are easier to sew together. He is a bit mismatched, which on makes him awkward, but his unnatural life has made him very strong, J \ ( Frankenstein's Monster is usually a large \ éFrankenstein's Monster Step 2. Frankenstein's Monster's muscular build is contrasted with a small head. The Monster often has a head with a sloping forehead and sunken cheeks, souvenirs of its time as a corpse.Gr ak Frankenstein’s Monster Step 3. Frankenstein's Monster has trouble finding clothes that fi, so he has to settle with whatever he can get. He has visible stitching and bolts sticking out of his head. Those bolts were used to conduct the electricity that reawakened his brain and body. The addition of spiked gloves and boots gives this version something of a modern punk flavor.DRAW Ge a Frankenstein's Monster Step 4. Frankenstein's Monster, the ultimate embodiment of man's triumph over nature and defeat of death through science? Or a constant reminder of the folly that man’s hubris can create? Either way, he is one scary- looking fellaCHAPTER 2 ebetic Monsters (KN@s/oRAW oboticMaonsters Step 1. When designing a robot, you can start with just about any shape. This one combines some random shapes with a square torso and rounded head and legs. When you start your robot design, you do ‘ot really have to have the end product in mind. By refining the basic shape and adding some details, the creation begins to emerge. ts design is basically proportioned and constructed along human lines, with a head, torso and two arms. The multiple legs give the robot added stability and support for its great ‘weight. The gruesome head protruding from its rear may be an important component or simply a trophy, a testament to the destructive power of technology gone wrong. Either way, itis a point of reference, giving us an idea as to the robat's size.2 DRAW GEEEREWEL Patios Mechanical elerence is very important when saving one monstes.There a6 a mber of common mechanical elements Step 3, tatvouvi use teavenseing meta joints, gears, bots, and tubing-allthings used in most cars. This drawing makes frequent use of many of these components. éCa DRAW RoboticMonsters Step 4. Alter looking at the last sketch, it seemed ‘The finished product seems to have incorporated some mundane machine front of a jeep. itis possible that theCroan obot icMonsters Cyborgs are combinations of biological matter and robotic parts, They are usualy pat == Step 1. robot and part human, but A could be part robot and any other animal you can think of, or even part alien. As medical science progresses, the reality of cyborgs is unavoidable. } Robotic heart valves, pace- makers, and prosthetic limbs ‘are becoming more and more This is the basic normal. Y outline of a ¢ cyborg with logs oran alternate cyborg bottom, ‘The waists of both examples are hydraulic systems. The bottom of the example on the left is a reduced tank tread. The cyborg above is obviously designed for combat, with its right arm having been replaced by a Gatling gun. Maybe this cyborg is able to switch out its legs for the more durable tank tread hen the situtation calls for it \ S ceBroa aRobot icMonsters Step 3. Let’s just focus on the cyborg with legs. ‘As we begin to render more detail, we have the opportunity to add more mechanical features to the drawing, Before, | mentioned the hydraulics at the waist. When we clean up the drawing, we can more clearly define hydraulics at the knees and ankles of the cyborg. As a design element, we can decide that there is a metal skeleton throughout the whole body, so the biological bones are not necessary, like the bone sticking out of the left leg. We also don't need to try and make the cyborg's hand realistic, since its only task will be to maintain its weapon, ‘When designing any robot, always keep in mind what that robot’s function will be and then create a monster designed just for that purpose. This cyborg, for instance, ‘was designed to be a foot soldier and only ‘a foot soldier.CX DRAW RoboticMonsters Step 4. a) ‘The finished cyborg looks great. When you are adding this much detail to a monster, be sure to give each aspect the necessary attention. Here both the biological and mechanical parts are well defined and developed, balancing each other out. If you aren't going to put a lot af time into the biological part of the monster, then don't bother having it there at all.Our first two robots had their inner workings exposed. Lets try to design a robot that has its insides more contained. This robot has a much more organic design and was Step 1. designed around a stingray concept. This can be seen in the smooth, sleek shape of the entire robot as well as in the large, rounded head. We are going to give this monster a specifically designed face, as opposed to implying it wth machine elements A side view and a top view of the robot's head. Notice the long antenna/horn. ZCroan obot icMonsters The majority of this monster is covered with armor plates, but the regions that are not reveal detailed servos and hydraulics. Pictures of assembiy-line robots are an excellent source of reference for robots like this. The three- toed foot design allows for both a wide base for the legs as well as the option to )) grip (handy for climbing) This is a Robotic Monster with a happy face. Of course, | don't want to know what makes this robot happy. As the head develops a K bit more, we see how the stingray theme is working its way into our robot design,Broa aRobot icMonsters Step 3. ‘The inked robot has a great deal of detail in it. There has been careful attention paid to hydraulics and hinges. The rendered wear on the robot implies that it has seen some action, and the small, evil face lets you know without a doubt that this robot's purpose is not friendly.As we have seen throughout the book, Step 1 creating great monsters is a matter of : taking the familiar and twisting it into a new and chilling form, We know that demons can take possession of people TT and animals, so let's switch it up and have a demon possess a pickup truck, > i First we, will sketch out a basic truck ‘ i A shape Step 2, Nov tatwenave our bese tuck shape, we can start to ad the demon features we + want, Since the headlights and front gil already resemble a face, we can take ita step e Since the headlights and tront gril akeady resemble af . further and tum them into a set of glowing eyes and tooth-illed maw. Two secondary mouths on either side of the primary and a couple of extra eyes add to the unnatural feel of the monster.Broa aRobot icMonsters Step 3. ‘Some beefed up demon ¥ tres, good for cruising the (7/7 highway to hel, aitle bt" of 40-weight drool, and our “ie monster is ready to roll. It is actually pretty easy to maintain the integrity of the 4 1///" basic automobile form. A * monster lke this would be pretty hard to fight. You can see from the bullet hole in the windshield that someone has already tied and probably gotten some hellacous treadmarks for their eto ‘The finished product is straight out of a driver's ed. teacher's nightmare. | doubt this demon is going to 8 stick around for an exorcism. We have successfully given new meaning to the expression Monster Truck!GDR AW ERED Chee ‘A Robotic Monster in disguise can be truly chilling. A mad genius or invading mechanical alien race wanting to create a lot of havoc has plenty of options to do so. Look around you and you will probably see ‘some innocuous piece of machinery that you would never look at twice. Take this CD player. With a lite bit of work, it can be transformed into a truly chilling monster.Ca DRAW oboticMonsters This would probably ruin your favorite CD, and I wouldn't want to put those headphones any- where near my head. Some of the elements used here are biological. Nothing prevents you from adding these elements to technological monsters, making them sort of cyborgs in reverse.‘Some robots are more insidious in nature. This particular creation is fairly advanced. It looks almost biological and has taken control of this poor person. ‘When trying to determine what your robots will do, remember that a natural affinity exists between robots and electricity This one uses that affinity to control the movement of this person while they look on, helpless to control their own actions, Try to think of new and creative ways to use robots. You will get tired of the rampaging giant robot monster fairly quickly. 4gk oboticMonsters| When creating your robots, keep in mind that they can be any size. ‘These tiny terrors are more dangerous because their small size allows them to hide almost anywhere and strike and disappear without a trace,Cro aR obot icMonsters AY SEX, | The designs on both of these robots are such that their faces appear quite sinister. This can be accomplished through the simple act of giving them inwardly slanted eyebrows (or the appearance thereof). Any weapon can be incorporated into your robots, be it a buzzsaw, a missile launcher, or ‘a mini railgun. Inspiration for robot designs can be found from so many sources that there is no excuse for not being able to come up with P something. Cartoons and film are good starting points.Broa aRobot icMonsters While most of these designs have had features, giving you a point of reference, this does not always have to be the case. This design stil has some features that imply a face, but they are much more subtle. Don't feel that you have to include eyes or mouths since, when you think about it, a robot would likely not need them, Step 2. Any contact with this robot loks like it would be painful. Whereas humans are made up o regular shapes, you can draw robotic mon- sters around basic geometrical shapes like a circle or triangle Step 2. Alarge jaw hinge is really the only blsmedtanca sameninns YC) «cb shoning ow you can ees OQ» vets wou much mechan ; TetoencetyounavevaCroan obot icMonsters Amicroscopic piranha swimming through your bloodstream will probably at come er. isis also an example of how you can take an animal ant itinto a robot, rectly translate &CDR AW WINE OR We have a great deal of hope that if Visitors come from beyond our sphere, they will be benevolent. Supposedly, a civilization advanced enough to travel the stars should have progressed to the point where they value peace and kindness, ‘The most common alien race that you hear of in abduction cases are the *Greys’: short, skinny aliens with large heads, big, black eyes, and small mouths. This alien has a distended belly, maybe having trouble getting his type of food so far from home. The legs have two joints bending in opposite directions, which probably allows this alien to fold itself Up ang fit into small spaces and to jump quite high.Creating alien monsters is all about taking the familiar and making it new, startling, and frightening. So, by taking the alien from the previous page, a fairly ‘common alien design, and altering it even further, we can get another unique Alien Monster. This one starts with the same basic figure structure: the legs with two joints, the long fingers, and the same head shape. To make it appear more feral, we can have the alien poised to springCDR AW WINE OR After inking, the distinctions between this and the previous alien are more pronounced. ‘The skin rendering implies scarring, making this look like an alien that has lived through significant violence. The hard muscles, claws, and fangs are quite starting and tell you that this is a monster bent on violence. The alien's sharp teeth, lack of lips, and skin stretched around the mouth are all elements that increase the feral feel of the monster.Martians may be the most famous aliens of alltime. Mars being the largest planet nearby and the one ‘most likely to support life i// has made ita prime home base for alien mon- sters. H. G. Wells' The War of the Worlds is responsible for depicting Martian ships as tripods, and the design has stuck. So let us design an alien vehicle, or maybe the alien itself, around that idea.From our sketch, we ‘come up with this~a roughly disk-shaped body atop three robotic legs. The beauty of this design, from a storyteller’s perspective, is that it is quite simple in its elegance. The design suggests, but does not show, traits the alien might have. Their chosen method of transportation might reflect their physiology or not. The three ten- tacles could be extensions of their true bodies or simply mechanical devices that only appear biologi- cal. The optical porthole might be an eye, but in reality, we don't even know what size the alien is.‘The final image of this alien does not provide any answers but is still a great monster. If this were a ship that was invading Earth, our scientists and military strategists would be battled, ‘They would wonder why a species that could produce such advanced vehicles ‘would choose to use a bludgeoning weapon, the tentacles, instead of projectile or energy weapons. Also, the design ‘seems to have a limited field of vision, with two openings facing one direction and the rest of the body having no other viewports How do these aliens ‘overcome these weaknesses, or do they?GDR AW WINE OR / The desire of humans to explore and discover has been well documented, so stories of humans exploring space abound. Oftentimes they do not encounter other intelligent species, but what about animals and bugs? Here on Earth, mosquitoes carry malaria and infect thousands of people a day. ‘One mosquito lays between 100 and 300 hundred eggs, and their life cycle repeats itself in a matter of weeks. All it would take is one alien insect hitching a ride back to Earth, and we could all be dead from an alien infection in a matter months. Spooky!CDR AW NINE OR Ws possible an alien species might have the ability to alter their shape and would take our shape to put us at ease. Of course, their attempts failed miserably in this case. This monster is a good ‘example of how a design can be used for multiple purposes. While we are speaking of it as an extraterrestrial visitor, it could just as easily be the form of a demon ‘or genetic mutation. Monsters often defy easy classification. ‘Some assume that the human form, being eminently practical, will be encountered frequently in the universe, once we get out of the solar system. If that is true, we may encounter some truly unique variations of the familiar that are equally fascinating and frighteningCon) Let’s ty for an original design, shall we? We need to start with a basic form, so let's use three legs with a ‘small torso and large head. Our alien also has a long, horizontal lower body, something of a horse body shape, and its arms are much longer than human arms,CDR AW NINE OR Allttle more development of the three-legged horse idea, and we have this lower body. We don't want our alien to look like centaur, so let's create a large upper body and boneless fingers. The hunched back implies that this creature may have stood taller at one time.CDR AW WINE OR Step 3. OF a D ‘This is a sophisticated alien, 0 some clothing might be in order: pants, a head covering, and some omamentation, Keep in mind when designing accessories and clothes for aliens that they need to be something the alien could put on itseltCDR AW NINE OR Step 4. SA @y= fy ry ‘The finished creature might look almost cudaly if it weren't for the fact that itis wearing the head of another creature around its own. This design shows how a creature that, looks civilized can be made to be menacing. This species is obviously advanced, but they value hunting and killing ‘enough to make the constant display of trophies extremely important.CDR AW WINE OR The chest- or belly-burster. Ever since Ridley Scott's Alien, the idea of a creature violently emerg- ing from our own bodies to kill our companions has haunted our nightmares. We witness crea- tures on Earth using other species as incubators for thelr young, so it isn’t a stretch to assume that ‘some alien species would require hosts for their young, and we assume ourselves, with our high body temperature and moist internal organs, to be perfect hosts. Sort of the dark side of vanity!CDR AW NINE OR ‘Some aliens may look unthreatening, or even incapable of offensive action. It an alien ship landed on Earth and one of these waddled out, we would probably laugh. It looks a litle ike a watermelon with logs. The alien's body has trilateral symmetry; it goes out fram the center identically in three directions. Humans have bilateral symmetry, or bodies that ccan be divided into two mirror-image halves. The first thing you should ask yourself when this alien waddles off of a space ship is, "How in the world did they manage to build anything, let alone an interplanetary vessel?" That's when you should start getting nervous. A species that looks like this and has survived and thrived obviously must have other advantages. Maybe they have mental powers, enslaving toxic spores, or some other unheard-of power. ‘Sometimes a monster's greatest advantage can be its ability to look harmless.‘The alien symbiote or parasite has become increasing popular. They inhabit a person's body and take control, often with no one the wiser. The thing that makes these monsters interesting is that because of their small size, people assume that they cannot have intelligence equal to humans, when sometimes they have far superior intellects. ‘The longer a parasite can go without detection, the better, but sometimes it doesn't matter whether anyone knows they are there or not. This litle guy has gotten cozy with a human brain, and removing him will probably kill the host, so there is litle a human can do.CDR AW NINE OR ~ Step 1. The idea of hive minds is fascinating and seems to be highly practical, although individuality isn’t really high on the hive's list of priorities. Hives tend to show extreme determination and selt- sacrifice, which makes an invading species pretty terrifyingCDR AW WINE OR | ld Step 2. ‘Adding a tew more insect features helps j this monster to develop —_/ quite quickly. The basic —_//CDR AW NINE OR Step 3. When complete, this, monstrous insect is Quite a sight to see. This is a perfect ‘example of something that we have in nature that, when increased in size, can be frightening and alier-iooking. Find an entomology book and start looking at pictures of insects, and you will soon have plenty of inspiration for your own alien creations.hagPonting? Just as Giant Monsters can be literally anything, you can tell a dizzying array of stories centered around a giant monster. Anything from a story of catastrophe to a romance can be effectively told in this, ‘sub-genre of monster movie, The freedom of Giant Monster stories is one Of the things that makes them so much fun, Kaiju, or giant monsters, have their roots in the advent of the atomic age. Following the second World War, the cultural apprehension of the Japanese people concerning what atomic fallout might do to the world and the threat of the Cold War were expressed in films showcasing creatures that had often been created by radioactivity. The prevalence of radiation paranoia throughout the world, along with the high level of entertainment the fms provided, made Giant Monster movies a global success, and their popularity continues to this day.When creating a Giant Monster, there are four basic types to choose from: Qua- drupedal, Arthropoid, Shapeless, or Bipedal. ‘The Quacruped body type walks on four legs. ‘These creatures will move in the same way as regular four-legged animals. Four legs give them a great deal of stability, but it usually means that they are shorter in height. To make up for this, they sometimes rear up on their hind legs to attack ~_— Quadruped monsters are Particularly suited to stories in which you desire for your monster to convey a bestial character. Itis harder to relate toa creature on four legs than on two. There is a wealth of reference to draw from, as the numer of four-legged species on Earth numbers in the thousands. ‘Another body design is that of the insectlike 7 giant monster, everything from giant ants & and spiders to mutant crabs. This body type OM / usually has more than four legs. Since they < . / ate creations of your imagination, they can wh NY have as many as you want. The fact that x We are used to seeing creatures such as this as small and unthreatening adds to their ability to frighten. VZa DRAW GIANT Monsters There are a number of creatures that do not really have a specific category. Sometimes they have no bones, like a ‘squid, octopus, or slime. Other monsters have shapes that they alter regularly. A silicon monster made completely of ‘sand that doesn't stay in one shape for very long or a Giant Monster made entirely of ight would be examples of ths. Finally, some body shapes, like a snake's, are unique and highly recognizable but not really deserving of their own speeification. Giant Squid are one of the few Giant Monsters that really exist. This can make stories centering on them seem more realistic. Giant ‘sea monsters have a long tradition in most cultures of the world that border on water, so there is a wealth of information to choose from. Anything from sea serpents to man-eating oysters works as a story concept. { Don't fee! that a creature's natural environment limits its story potential. Nothing shakes up a reader like unexpected behavior. | highly urge you to take your inspiration, in this case a squid, out ofits natural ‘environment and experiment. In this image, a squid is on land in front of a school house. This does not agree with what conventional knowledge says is true of squid, so one has to wonder in what other ways this squid is unique,Za DRAW GIANT Monsters oO ‘The tinal and most common typeof Giant Monster i the bipedal or . humanoid body type. These monsters walk on two legs ané move in d MW ‘uch the same way as humans. This means that they often have front limbs to attack with as well as a wide range of motion for the head. 0 When designing a bipedal monster, you can usually start with the basic human body design, Sometimes a bipedal ‘monster will be significantly different in structure from a human, like this monster based on an avian design, Like all Giant Monsters, bipedal monsters can be anything. Reptilian designs have long been popular, but giant people are not unknown, and neither are robots,2 GAN TMonsters Step 1. When drawing a bipedal Giant Monster, make sure that its shape is balanced. Ask yourself, "Would this creature be able to support its own weight in real life, and would it be able to stand on two legs? Where would its arms be? Would they be attached to its shoulders or somewhere else cn its chest?” Let's see how a Giant Monster develops step by step. We have decided to draw a very classic design: the Thunder Lizard, a cross between a Tyrannosaurus Rex and a regular lizard, Something about a cold-blooded monster just appeals to me. They are both terrestrial, in that we have encounters with them regularly, and alien, in that they are cold- blooded and totally different trom us biologicallyCra GAN Péonsters Step 2. Atter establishing the basic shape of our Giant Monster, we can begin to add some details. It is covered with overiapping bone plates for protection, a design element shared with the armadillo. Bony spines along its back, arms, and head give it a more menacing appearance. From Step 1 to Step 2, there are a wide range of design choices that can be made. We could have instead chosen to make our Giant Monster sleek and smooth or even hairy. Try photo- copying the previous page and experimenting with diferent ways of developing the basic shape we laid out,A little rendering develops the diferent textures of the monster. It is now looking very threatening, There is a clear difference between the plating and the unprotected skin, shown by the addition of the wrinkles in the skin. This image is now ready to be inked. Variety keeps your monster from looking dull. The different types of plating are the key in this drawing, from the rounded shoulder guard to the breast plate and horned head plate. 4Alter inking your Giant Monster, erase your pencil lines, and you have a gargantuan terror ready to destroy a city, do battle with another mutation of nature, or just scare the local wildlife. This is just one example, and a fairly traditional one at that, of a Giant Monster. When creating your own, you can draw from the classics or do something totally different. The beauty of monsters is that the newer land more creative, the more interesting and scary they can be.Bipedal monsters can take a great number of shapes. Itis very important that you do not become caught up in the idea of making them look human simply because they have two legs. They can have multiple heads, tentacles instead of arms, or wings. It is even okay if they lack certain things that would be expected. A giant bipedal monster without a head would be pretty shocking. A fight between bipedal monsters is easy to construct and follow visually, since we are used to looking at two upright figures interact.Zpraw i} 1) Eee p Sniff....Giant Monsters really are beautiful. It just tugs on your heart strings...as you run in terror, of course. Never forget the running and the terror and the screaming. But wait..what's this? There's more? What could be better than a Giant Monster in its element? How about all the other variations on this theme? Let's take a look!DRAW GIANT Monsters Anice, clawed stomper is great, but there are so many other kinds of feet out there to choose fram, some of them slightly different, others unique to the extreme. ‘A modified anteater claw! It it's good for dissecting an anthill, why ‘wouldn't it be good for dissecting a building? Awing-mounted claw...mmight not be as effective as a wing-mounted heat-seeking missile, but when you're invincible and 100 feet tall, you're ‘not complaining, Tm gonna get you! Okay, maybe | won't, but human hands are pretty good at ‘squashing bugs. Think how much better they would work if they had palms the size of a truck. ‘When you walk on lava, your feet may look ‘abit different. No one is complaining as long as they remain uncharred.Za DRAW GIANT Monsters How about a limb that is reverse-jointed? That's something you don't see everyday. Plus, they say the devil is reverse-jointed, Creepy! Ihave never really appreciated my pinkies, so this design appeals to me, although nail-trimming is probably a real problem, Yot Voy (WN How's this look to you, monkey fans? Great for cradling the damsel of your banana-filed dreams. Anice pointy pincer for...pointing and incing, | pincing, | guess. nyu Nothing like a trio of rending claws to make a good impression-well, some kind of impression, at least.Za DRAW GIANT Monsters ‘These bat-like wings can carry a great deal more weight than you would imagine and create gale-force winds as an offensive attack. bird's wings look fairly normal, but not when they are attached to a shambling, repiian bog monster. Although you can stuff a pillow pretty fast with 8-foot feathers. Insect wings beat at a very rapid rate, sometimes moving so fast that they blur into invisibility. They also catch light and fitter it into dazzling prismatic displays. Ahh. the beauty of a butterly’s wing, 50 colorful, s0 soft, almost hypnotic. All the better fr a Giant Monster who wants to appear unthreatening up unt ho eats your town hal, Tentacles! Many is the time Ihave wished for a few ten- tacles to help me out during the day. Some creatures have all the luck. They are extremely versatile, and just about any Giant Monster ccan benefit from a few.Cra GAN Péonsters Skin-you got it, | got it, and so do most Giant monsters. Of course, theirs might ‘not be as soft and fragile as ours. They probably have cold-resistant, fireproof, radioactive super skin Aig concem of the Giant Monster youth of today is skin blemishes, but sometimes the %, é warty look i just something you have to a accept While humans just have one major skin type, Giant Monsters can often have two or three or ten. Scales are great for protection. The way \ they overlap means that every inch of your body is covered, plus you dry out a lot ‘aster than those Giant Monsters with fur.Gu DRAW A | ee Feathers can be a blessing and a curse. They provide great temperature control, but sometimes you look a litle lke a sissy. Of course, once you peck someone’s head off, that really isn't a concern anymore. Fur is comprised of lots of short hairs that cover most of your body. It can be any color and is very functional. Usually, fur grows at a length suited to a creature’s current climate. \ When a Giant Monster is hairy i is covered all over with long hair /) This allows a Giant Monster to develop a suitably repugnant odor if it stays away from water long enough, and smaller “4 creatures can make their home in its hair. Everyone wins! YM Fish scales are great because they are almost always accompanied by a slimy body coating, which comes in real handy when grappling with other Giant Monsters. 7Za DRAW GIANT Monsters Sectional armor can be formed by bone plates, extra-tough leathery skin, oversized scales, or even mineral deposits that have grown on a Giant Monster over the eons. As far as defense goes, this may be the peak, as it provides both maneuverability and protection. Chitin plating is common among insect monsters. It acts both to contain an insect's internal organs and to protect it from aggression. Chitin has been known to have a glossy and shiny appearance which can be quite breathtaking. ‘Sometimes a Giant Monster will wear armor or be built with metal skin or maybe even grow it. A shiny metal exterior requires constant atten- tion in the form of polishing or dips in a botling natural spring. A good heat-scouring in a lava pit can also do the trick. A dull metal exterior can sometimes be the clever deception of a monster trying to appear old and lazy. Spiny, porcupine-like skin can be a great defense, f and when you can shoot your spines at high speeds, f it can also be a great offensive weapon. Nothing, says "Stay away’ like a four-foot spike of hair.Za DRAW GIANT Monsters Aside from spikes, there are a number of other ways that a Giant Monster can be decked aut. The classic saurian fin lets others know that you have a respect for tradition, and if it can be used to harness cosmic radiation to be released in a death blast, all the better. Patches of hairy spines can accent different parts of a monster and make grappling uncomfortable for attackers. They can also say, "Hey, look, | have weird patches of hairy-looking spines on my body, all rom eating nuclear waste!” ‘An aquatic fin will help any Giant Monster swim better, and some of them can excrete paralyzing venom, which is a nice perk. Weathered bone plates can make all kinds of statements, lke, "Hey, | spend a lot of time in the ocean and let things grow on me," of "Look, I'm old. ‘A couple of bone spurs are the bare minimum for any accessorized Giant Monster. You can hang trees and power lines from them, and they are great at saying, "Don't Touch!"This giant slug certainly doesn't look like much, does he. Not frightening inthe least, if you ask me. ‘Stil, whether you are frightened or not, you have to admit that anything that size sliming its way down your street is going to have an effect, and if you upset it, youtte in huge trouble.TANT Monsters c/oraw(Azoraw (4 1) Ene When a giant monster is created by humans, you are pretty much assured that you are in for @ rough ride. This monster was the result of a scientist attempting to place his consciousness into a large body of water. It worked. Oh, the joys of modern science. Sadly, the strain of holding himself together has worn this scientist down, and since every time he tries to get close to his machines he shorts them out, he has become pretty agitated. Here's hoping another giant monster with a huge thirst comes along and deals with him, or else this living tidal wave may flood the neighborhood, gigantic monsters is that itis okay it - R ¥ ‘One of the nice things about drawing ey @ Ls & thei people nave te oo - R detail. When a monster is truly giant, he will be too big to notice or care Ka about any deta. The Key isto get across these three ideas: fleeing, peril, and panic.Za DRAW GIA [Monsters Agiant, shapeless blob can be pretty dangerous, especially when its body is composed of a flesh-digesting jelly and it needs to consume hundreds of thousands of calories a day. There isn't really ‘any place you can hide from a monster that is capable of oozing through the smallest cracks or, when that fails, simply digesting its way through any obstacle. Great origins for monsters like this include outer ‘space, deep beneath the Earth's crust, and your mother's uncleaned garbage disposal. oF) 4 “Oo Y)! Notice how even the clothing is digested. This is an economical monster, wasting nothing, Aint nature neat?apraw( Hi) ee This giant monster is dedicated to ruining your beach time. A monster without eyes, a nose, or ears and with a huge mouth is probably only concerned with ‘one thing: eating, and after that, eating some more. The double row of teeth means he is twice as focused on food. This monster would probably fall into the “other” group. Instead of having suckers, its tentacles are covered inthe same skin as the rest of its body. This prob- ably means that this crea- ture can't afford to have any soft skin on its body. This monster is interesting in that ithas tentacles and seems to originate from the oceanZa DRAW GIANT Monsters Less of a giant monster and more of a giant problem, swarm attacks are no laughing matter. In some respects, the hive is the giant monster, and when it acts with a single mind, it can be more deadly than any single large creature. A hive of killer bees can kill a person with rapidity and ease. A swarm of locusts will devour everything and anything in its path. Ants One bee alone on a rampage will not only eat everything, isa nuisance. they will knook down things that are in 300,000 is. their way. Add a little toxic leakage or unholy radioactive mutation, and you are dealing retribution with a situtation that is no small problem,Za DRAW GIANT Monsters ‘Sometimes Giant Monsters seem limited from a storytelling point of view. The immediate conclusion is that, rampaging and destroying a city is all they are good for. Nothing could be further from the truth, as the con- tinued survival of the genre can attest. ‘A Giant Monster's motivation is almost always a mystery, because it cannot communicate with humans. ‘The chance exists that a Giant Monster is actually benevolent, but because of its nature itis attacked, or it might simply be a foil, its presence being the catalyst for an entirely different story. One of the most visually ‘exciting ideas is multiple Giant Monsters fighting each other and humans being merely bystanders, seeking to understand what they are witnessing. Itis important to try and capture both the terror and sheer magnitude of Giant Monsters as well as their majesty and awe-inspiring nature.Ca ZT AUMAN Monsters This monster will be bent over after some exertion, so curve his back forward. He has a mask on that will make his head larger than normal, so make that circle alittle bigger than normal. He is going to be carrying an axe, so place that in his hands. His stance shows that he is ready to swing again if he needs to,Cx DRAW Hu Monsters Human monsters are the most ‘common, as they are the easiest to relate to and the simplest to create. Our own nature is often their blueprint, which makes them personal, and because of that, more frightening. A human monster can be anything from a hid- eously mutated person who has ruined their body in pursuit of power, to a simple man or woman, totally normal in appearance, who one day snaps.Ca DRAW HUMAN MonstersCx DRAW Hu Monsters This is going to be a hunchback, so the first thing we need to do is bow over his back. When you raw his arms, they should reach almost to the ground. Also, the head should be hallway down the torso area. Because Of the deformed back, his legs will be wide apart.Co iL? CAN OR EEN ease Hunchbacks have been persecuted and ridiculed throughout history simply because of an ailment that usually develops at birth. This is a grave injustice, and itis easy to see how a persecuted person might desire to strike ‘out. This makes them great as tragic figures who we can t relate to, if only up to a point, ntl then they shock us with { their monstrous behavior. wis JCX DRAW eeu u eet st-14 1] ‘The deformity in his back has caused this hunchback to develop a very strong upper body. It is possible that he used him arms to help move himself along. You can see that his legs are much smaller. So, it you see him run, he probably won't be able to catch you, but if he gets a hold of you, you're in trouble.you CTs HUMAN Monsters ‘The Invisible Man is an endur- & y J ing figure in folklore, People | A find it very easy to relate to him because they all envy the {freedom he has being invisible, and when he starts to abuse that power, they all fee! that # they would behave more rea- } sonably, Let's take our Invisible Man back in time a bit with an i eveniing cape and top hat. / This Invisible Man was once a gentleman, or at least he ‘wants us to think so. 100CX ppaw Hu Monsters fo We are going to draw an invisible man who is wearing a hat and cape. So, we need to draw a regular person's torso, head, and arms, Then, top them with a hat and cape. We will erase the figure later. 109Ca DRAW HUMAN Monsters When drawing an invisible character, keep in mind that getting the proportions of the figure correct is even more important here than when you can see the person. Since all you see are the head, shoulders, and hand, if they do not agree correctly, you have ruined the entire effect. 102Cx pRaw HUMAN Monsters Let's draw two crazy children. We start with a slightly smaller torso and head and shorter arms and legs, The boy is on the right and will be slightly larger than the girl on the left. Let's make their heads a littl larger than normal, as a deformity. We cherish our children / and tend to think that they are innocent and harmless, When you encounter kids like these ‘wo, you'd better tread with care. They look k none too friendly, and with that knife and soythe, they might react badly to strangers. ] 108Ca DRAW HUMAN Monsters ‘Something has obviously happened to these kids. Perhaps they are the result of playing too close to the power lines, their parents trafficking with creatures from the Netherworld, or bad dietary habits. No matter how they got this way, their violent natures are obvious Oftentimes, monsters like this come from small farming communities, where itis easier to keep dark secrets. 108EXDRAW ate IV (alate sla This werewolf does a great job of tying the human and animal forms together. There is very litte doubt that this creature is a wolt, and at the same time, you can look at it and clearly ‘see that at one point it was a human and will probably take that form again soon.Ca DRAW HUMAN Monsters Some anthropomorphic monsters are easier than others. Cat people have the honor of being one of the easiest. All you really need to indicate a cat monster is a tall, some cat eyes, and whiskers, and you'r off If you want to go that extra step and show that you care, you can add some fur rendering and claws. People think cats are cuddly and cute, but werecats are to be feared more than werewolves. Cats are fickle and self-absorbed, iable to switch between kind- ness and cruelty in the blink of an eye. At least with a werewolf, you know what you are getting Cat pupils are slitted, unlike round human pupils. Ge Cats are able to retract their claws back into their paws. 108CR DRAW Te enue Ne este] ‘Some people hypothesize that every creature has the genetic potential of every other creature locked away in its body. With a little genetic reform- ing, you might look like this. A fish/human hybrid will have a whole different set of problems and personality issues from the cat and wolf people. First, does a fishman need water every time he transforms? Can he breath air? The scary thing about a werefish is that is species has a lot to be upset about: A “small” amount of pollution in his ocean affects the delicate balance under the waves, Webbed fingers help fishmen to move easily and quickly through water. 107Ca DRAW HUMAN Monsters A GES Gre very easily into stories about the envi hey can be seen ters defendingCx DRAW Hu Monsters ‘Some transforming monsters developed the ability to transform into human form as away to hunt. This Black Widow Monster uses her human form to lure men to her lair, where she kills them and keeps them on wrap for later snacking. Arachnopho- bia is very common, and a good storyteller will exploit the fears of his readers to chill and thril them. 108You ZX DRAW HUMAN Mansters vith good looks fs what aes th Va an a fy — monster effective. f/ This young prince was the pride of his kingdom and he stilis. His kingdom values conquest and violence, so he is their golden boy. He took on the teachings of those around him and tried to do his best. It isn't his fault that everyone else thinks he is a bloodthirsty maniac. 190raw (EIN ReneEi pRaw ee att When designing monster plans, | ke@p in mind tat they have to The Leaf Pile be large and threatoning enough to look scary. Adding moving ppendages-in most cases, roots gives that extra menacing touch ‘This monster, ke many others following it, has no eyes. Plants theoretically have other senses that tell them wen a warm body is close. Its the same sense they use to detect sunlight, Why do monster plants need to feed on ving Creatures? Perhaps their huge size drives them to feed on larger prey rather than simply using the nutrients of the soil — under them, ~ ‘This monster is based on a mound of foliage. In its inert state, it lies almost flat on the ground like a pile of normal leaves. It then springs forth to surprise any unwary travelers, Using its roots to grab onto its victims, 118Cx DRAW PLANT Monsters The Mushrooms 116Cx DRAW PLANT Monsters The Onion Here is an example of an everyday bulb plant that, when oversized, turns into monster. With the addition of three mouths filled with sharp teeth and its roots coming alive, this everyday plant is suddenly turned into a vegetable terror! ‘The basis for this design? An onion, of course.Cx DRAW eRe ck The Orchid Here is an example of a plant with an eye. Few plant monsters have actual need for eyes. ‘Therefore, we do not need to add them to many plant monsters. Here, however, itis the domi- nant characteristic of the monster and what sets it apart from regular orchids. Except for the eye, nothing else is altered or added—except, of course, for a dramatic increase in size. The presence of an eye in the middle of this apparently normal-looking big orchid makes this monster absolutely creepy. 17Ei pRaw PLANT Monsters This rose was simply exaggerated. A toothy The Rose ‘mouth in the middle of this deadly bloom makes this one a really scary fiend. | have added thorny appendages. Thorns are a plant staple. While other monster types have a wide range appropriate offensive characteristics, thorns are the primary one for plants.Ei pRaw PLANT Monsters The Trunkmonster This monster is based on a tree's trunk and roots. This is simply a dried tree that has come alive. Of course, we and use them to make your plant monster scary.Cx DRAW eRe ck The Lilies Not all plant monsters are out to get you. ‘Sometimes, there may be “friendly” or "tame" monsters, as in the case of these two here. ‘Most of the plant monsters in this guide have mouths which are based on flowers. In nature, the flower is the plant's “face, so itis just natural to base our monster mouths from flowers. These monster designs were based on a combination of the lily and the squash bloom. ‘Again, dramatically increasing the size of the plant already makes it look monstrous, even if it does look well-behaved at the moment,Of course, there is the vine monster. Vines are the first choice for a plant monster's appendages. When you have vines available, go for it. This one simply waits for victims to pass by, and then it ounces! The face is based on a wild flower. If we were to make a scientific study of these monster plants, we ‘would find that most of them move slowly due to their limited ambulatory nature. It takes time to uproot and move to anew spot. But once there, and it'a supply of victims is steady, our monster plant can stay indefinitely and have an extremely long litespan, 12CX DRAW The Mold ‘Some of the creepiest monsters ut there are those which are faceless. The living mold eats away at dead creatures— sometimes even living ones, /oN cs AW Monsters Mold is creepy and disgusting. In great amounts, it will induce loathing in anyone who spies it. When you uncover a pot which has been sitting in the kitchen uncleaned for months, ‘you will no doubt reel in disgust at what you ‘see. Imagine that feeling multiplied a hundred times seeing the same thing as you round a comer. There itis..disgusting and creepy. It becomes more terrifying i it starts moving! 128Ty SEA Monsters _| What makes a sea monster? There are several elements that sea monsters usually have in common. For starters, they breath underwater and are almost always cold- blooded. Then there are several physical features that they share. Any creature that spends a lot of time in the water can benefit from some fins, and they can often double as offensive weapons, The eyes of sea creatures tend to be glassy and large and are almost always open. Itis hard to escape an unblinking gaze! Scales offer a sleek covering to sea monsters’ bodies, aiding their movement through the water as well as providing a small measure of protection from physical harm, 128Ty SEA Monsters _| The Octo-eel This monster combines traits from the octopus, squid, and eel. Its shape allows it to move freely in any direction, and its tentacles make grap- pling with it a huge mistake. Be even warier of its cousin, the electric acto-eeleS els t idle CE ie se eg Oe eo Ce eee) Se ee ae eas gigantic proportions, and you get a monster!205A ‘An example of a humanoid sea dweller. The head of this design was obviously derived from that of a fish. Scales and fins were added to the torso along with farms to make the creature capable of easy movement underwater. There is a lot less wishful thinking involved in this version of the fish-tailed person than in other mermaid designs. 12Straw Some of the best designs are already out there in nature. Prehistoric nature. Prehistoric fish simply look monstrous. Their huge size makes them perfect for conversion into sea monsters. Wait, they ARE sea monsters! And the best part of all is that no one can say with any confidence that they don’ still lurk in the ocean's depths. 180Sor Aw ¢ (ie ———#F Fee ME While not monsters, strictly speaking, giant sea turtles are definitely unique and can be the center of many different adventures. They can be ridden like this one here or used to pull a stranded raft to shore. Some say that they can grow so big that people mistake them for islands and land upon their shells. 199Deep under the ocean, there are thermal vents which spew out uitra-heated water saturated with mineral nutrients. There, plants grow without the sun and entire ecosystems develop without ever receiving a ray of light. Who can say what kind of sea life will grow to monstrous sizes down there? Tube worms at their regular size are hardly a concern; they provide a brightly colored distraction and that is about all. With the help of thermal vents and a lack of predators, tube worms might grow larger and larger, tila passing submarine would do well to keep its distance.Sor Aw We want to create a female sea monster with a basically humanoid shape, so let's, start from there. Use one citcle for the torso and one for the head. Her hips are also basically the same as a human woman's. We will put her in a dress to disguise her sea creature features, so we will indicate the sweep of it instead of drawing feet 188Straw ‘When designing a humanoid sea monster, you need to keep in mind that, while they may look human, their motivation and life experience will be completely different, If they are above the water, they will probably be tremendously strong, having had to survive and function underwater at high pressures. There is no fire underwater, which means that they will never have had to cook food, meaning that they probably eat their meals raw and can catch them as they swim by. All kinds of ttle things will be different about them. 1882 AW EN This sea monster looks almost normal at first glance, and yet there is something off-putting about the face. The large, glassy fish eyes we spoke of earlier are here, and the lack of nose also makes her look a little dif- ferent, Then, of course, there is the fact that she has no legs. Instead, a mass of tentacles peek out from beneath her dress.CuETER 8 Monstrous SettingsA graveyard is a good standard setting for any horror story to take place or at least visit, so let's begin to create one. For starters, graveyards are seldom flat. They usually have some kind of hill in them, so let's imply that in the background. Then comes the most important element in a graveyard, tombstones. Take a trip to a local cemetery or look for some good reference pictures, because tomb- stones come in every shape and size imaginable. A few scattered bare trees are another nice touch, You may be used to drawing vary precise, ruled panel borders, but a horror story frequently benefits trom lass precise borders or even extremely slanted ones. ‘This provides a very clear division between the good guys and the bad guys, something that horror stories are usually vary clear on, .—— \ \ LCR DRAW Monstrous Settinas Alow-hanging fog is sweeping across the graveyard. We can start aging the tombstones a little. Remember to vary how much you age each stone. Some may be very chipped and worn, while others are fairly new. Some of these graves may even be fresh, so a bouquet of flowers on one wouldn't be inappropriate. Develop the trees a litle more, making sure that they do not overpower the horizon. We have added a cross at the high point of the grave- yard. Itis symbolically looking out over the rest of the graves and provides a nice heavy, gothic feel There are three easy types of aging that you can do to your tombstones: chipping away, cracking, and wearing away. \ - % chipping cracking ‘wear( top comers) 189Gir aw LERERE PERSO TSBia aaMonstrous Settinas Old houses are so inviting. They have Unique architecture and that lived-in feeling. They also have history, like the time when the husband found his wife in the arms of another man and killed them both on the third floor before hanging himself off of the balcony, and now they all haunt the building. You know, just fun little tidbits like that. ‘A good haunted house needs to be a building with personality. This ‘example has a lot of character derived from the many levels and fixtures that the house has. The iron fence, baloony, and arched windows all add an air of elegance to the building.Cia Monstrous Settinas The shutters on the windows are another good feature for a haunted house. When the wind |. picks up and , |p stams a fow of | them against the Al] wall, you get a \ | good yelp of ‘) surprise followed byrrlief. Of course once the residents’ guard is down, you can really strike. All of the windows make you feel a litle as fhe house were looking at you.The ivy growing on the wall lets you know that this house has been here for a while, as does the chipped plaster, The building does not look run down, just alittle tired, as if it has seen too much and is ready to settle into decay.Monsters) iVonsters} humanoid lant <> Monsteis ™ . Sa